Creative Commons

Jeśli otwartość jest nie tylko Twoją cechą charakteru, ale chcesz także inspirować ludzi i pomagać innym, wierzysz, że dostęp do kultury, nauki i edukacji jest podstawowym czynnikiem rozwoju naszego kraju, to już dziś zgłoś się na szkolenie animatorów otwartej edukacji, nauki i kultury organizowane przez Koalicję Otwartej Edukacji. Zapraszamy szczególnie osoby, które lubią szkolić, interesują się otwartością – nauczycieli, którzy wykorzystują nowoczesne technologie [...]

Τα Creative Commons καλωσορίζουν την έκδοση των αδειών Creative Commons 3.0 στην Ελβετία! Ευχαριστούμε θερμά τους Mélanie Bosshart, Phillip Perreaux, Simon Schlauri, Hartwig Thomas και την υπόλοιπη ομάδα στην Ελβετία που δούλεψε σκληρά για να τελειοποιηθούν οι άδειες και να ενσωματωθούν στο Ελβετικό Δίκαιο.

Μπορείτε να μάθετε περισσότερα για τις άδεις στο website της Ελβετικής ομάδας και αφήσετε σχόλια και προβληματισμούς. Όπως αναφέραμε και στις ανακοινώσεις μας για τις Ιρλανδικές Άδειες 3.0και για τις Άδειες CC 3.0 στην Ουγκάντα, τα Creative Commons προσπαθούν να ολοκληρώσουν τον κύκλο των συγκεκριμένων αδειών καθώς έχει ανοίξει ο δημόσιος διάλογος για την έκδοση 4.0 των αδειών.

今回は、相互性・共有性を確保することを目的に、オープンシステムと協調性のあるテクノロジーの採用を公的機関に促す取り組み“Civic Commons”についてご紹介したいと思います。Civic Commonsは政府構成にとっての基盤・知識・ツールセット、必要に応じて(データやプロジェクトホスティングのような)技術的な基盤を供給し、共通の “市民のためのテクノロジー” とプロトコルの発展を促しています。 オープンかつ共通のテクノロジーは経費を削減し、公的サービス・透明性・市民参加・運営効果の向上をもたらすことが期待されます。

2012年になり早5ヶ月。時間の流れと共に、Civic Commonが昨年行なった活動・学んだ事、そして次なるステップについて考えたいと思います。

昨年は多忙な１年でした。Code for AmericaとOpenPlansの間の非公式パートナーシップとして、ゆっくりとスタートをきったCivic Commonsの取り組みですが、その開始にあたり、Omidyar Network・MacArthur Foundation・Knight Foundationからの寛容な支援に感謝しながら昨年５月より本腰を入れて活動開始しています。

この頃から、Civic Commonsは大きな目標に向かって加速してきました:

ここではCivic Commonsの行動中心域の活動に焦点をあてます。1) 政府に対しオープン・ソースの利用を活用するよう促す。テクノロジーへのお互いの投資は政府にとって有益なものとなります。2) Open311（注釈: 市民がより直接的に都市の情報を得ることができるオープンで相互利用性の高いシステムを構築し、その国際的な取り組みを推進している) のようなテクノロジーの発展への根本的に異なるアプローチ “オープンプラットフォーム” の発展をサポートする。3)これらの取り組み実行にあたり、その中に含まれる政策や業務に関わるオープンな知識のインフラ構築。

では次に、それぞれの分野でCivic Commonsが昨年行なった活動を簡単にご紹介します。

つまり、個々のアプリケーションよりもプラットフォームに着目することで、多くのことが起こるチャンスを作り出すのです。Civic CommonsはOpen311のコミュニティー内でこの展開を続け、同時にプラットフォームとしての公共輸送サービスはどうなっているのか、などといった事例を観察することができます。

そして、来年Civic Commonsがどの分野に尽力したいかを考えるにあたり、都市が個別にオープンソース的に開発を行い続けるだけでなく、相互に拡張可能なプラットフォーム構造を行ったオープンなインフラの開発も促す予定です。全てはオープンなイノベーションの基礎を固めるためにあるといえます。

全体的な連携:オープン化改革

ハーバード大学法学部教授John Palfrey氏は、最近発行された自身の著書『知的財産戦略』でオープン・イノベーション改革について以下のように表しています。:

オープン・イノベーションの裏にある実にシンプルで強力な考えとは、「新しいアイデアの創造者はあなたの組織にいなくても有用たりえる」 ということである。

これはつまり異なる人同士の努力を結合する可能性を実現するということであり、まさにシンプルで力強いものですね。

オープン・プラットフォームによって、政府が提供するテクノロジーの上に誰でもイノベーションを進めることを可能にします。オープン・ソースは複数の都市がお互いのイノベーションから利益を得ることを可能にし、オープンな知識は1カ所で得られた教訓や経験を他の決定の場へ活かす鍵となります。つまり、Civic Commonsの本当の意味での中心的活動とは、政府に対し、オープンなイノベーションのための潜在的な可能性を解き放つよう働きかけることです。

2012年、Civic Commonsはこれらの実現に向け突き進んで行きたいと思います。

(このCCJPによる翻訳記事はCC:表示-継承 非移植3.0ライセンスで公開しています)

The World Bank is adopting an Open Access Policy on 1 July 2012, which applies to work carried out by Bank staff members and outside research funded by the Bank. The aim of the policy is to support ‘the free online communication and exchange of knowledge as the most effective way of ensuring that the fruits of research, economic and sector work, and development practice are made widely available, read, and built upon’.

The policy will require that all research outputs published by the Bank be licensed under CC BY as a default. For work created by Bank staff, the policy covers manuscripts and all accompanying data sets.  These OA publications will be made available through the Bank’s Open Knowledge Repository.

What makes these moves so significant? How can open access contribute to the goal of eliminating poverty? How does it impact Bank’s researchers and authors? How will the OKR benefit users of Bank knowledge, in particular those in developing countries?

World Bank will be hosting an event in Washington DC on Monday 21 May to discuss these questions. The event will be livestreamed in English, Spanish and French, and features:

• Peter Suber | Director of the Harvard Open Access Project and a leading voice in the open access movement
• Michael Carroll | American University law professor and founding board member of Creative Commons
• Cyril Muller | Vice President for External Affairs at the World Bank
• Adam Wagstaff | Research Manager of the World Bank’s Development Research Group.

See World Bank Live for more details.

Att vara engagerad i arbetet med att sprida kunskap och användande av Creative Commons licenserna är många gånger givande. Det kan dock vara svårt att få syn på effekten av Creative Commons.

Inför att jag åkte till Malmö för någon vecka sedan för att göra en Pecha Kucha om Creative Commons i skolan, ställde jag mig just frågan: Vilken roll spelar Creative Commons i skolan? Och gör Creative Commons någon skillnad?

Det jag ser genom mitt arbete på .SE, med Internet i skolan och Webbstjärnan är att det finns många möjligheter som ett medvetet arbete med Creative Commons licensierat material. Genom att använda CC-licensierade bilder, filmer, musik etc kan barn utveckla sin kreativitet och få möjlighet att skapa med andras material som utgångspunkt. I vissa exempel så syns lekfullheten så tydligt, som t.ex i denna bearbetning gjord av en grupp elever på Nacka Gymnasium.

Läraren (Per Falk) vars elever gjorde den berättade om arbetsglädjen, skratten och lusten kring att få bearbeta och skapa utifrån (i det här fallet min bild). Det är för mig ett lysande exempel på hur kunskaper kring Creative Commons berikar skolarbetet.

I Webbstjärnan ser vi många andra exempel och här på vår blogg har flera lärare och elever berättat om sitt arbete med Creative Commons, och Creative Commons betydelse för skolarbetet. Allt ett tecken på att kunskaper och användandet av Creative Commons skapar möjligheter för den som använder CC att dela sina kunskaper och sin kreativitet. Men även att Creative Commons gör att vi kan uppnå visionen.

Our vision is nothing less than realizing the full potential of the Internet — universal access to research and education, full participation in culture.

Cultura Libre es una asociación que está comenzando a dar pasos concretos para defender y promover el pro-común. Está compuesta por “un grupo heterogéneo y heterodoxo de abogados, juristas, activistas y creadores” que parte de la base de que la cultura y el conocimiento libre son bienes que nos pertenecen a todos y que deben ser protegidos y gestionados en forma colectiva.

Su primer resultado ha sido la creación de una completa y concisa “Guía Para Escritores” que cubre varios aspectos relacionados con el licenciamiento de obras literarias: qué derechos generan estas obras, quién los tiene, cuál es la relación con entidades de gestión y editores, entre otros temas que incluyen por supuesto el de las licencias libres.

Sitio web: www.culturalibre.org

The Adapt project, which aims to create a repository of OER to enhance learning and teaching in Adaptation studies, has recently launched its new website. Project partners will be able to share learning and teaching materials across the disciplines in the Arts and Humanities to encourage the identification of a community of scholars who engage with the study of textual adaptation in a variety of contexts.

Adapt is led by staff from the University of Tasmania, in partnership with Monash University, The University of Queensland and The University of Western Australia and funded by the Australian Government’s Office for Learning and Teaching.

Over the coming months, Adapt will launch the repository and open it to contributions, so keep an eye out on Adapt’s home page, or follow their updates on Facebook or Twitter.

Once again, the Australian Government has released its 2012-13 budget overview and budget papers under a Creative Commons Attribution (CC BY) Australia licence.

The first step was taken in 2010, with the release of the 2010-11 budget papers under CC BY.

A project which has opened up historic video clips of events including the release of Lindy Chamberlain and the introduction of World Series Cricket has been viewed 1.5 million times in the first month.

The collaborative initiative between the ARC Centre of Excellence for Creative Industries and Innovation (CCI) at QUT, Creative Commons Australia, the ABC and Wikimedia Commons, has brought footage of Australian culture and history to a global audience for the first time.

The project has released 20 Australian historical video clips from the ABC archives under a Creative Commons licence to Wikimedia Commons, a media file repository that provides freely-licensed educational media content – images, sound and video clips – to everyone.

Professor Brian Fitzgerald, a chief investigator at CCI and board member at Creative Commons, said under the Creative Commons Attribution-Share Alike Australia licence, the clips could be copied, edited, remixed and shared, even for commercial purposes, as long as the licence conditions are complied with.

He and QUT Professor Anne Fitzgerald, Creative Commons Australia’s project leader for engagement with the public sector, have been collaborating with the ABC since 2008 to maximise the value of its archival material by licensing it for wider sharing.

They have been working in partnership with ABC Pool, a social media project for online collaboration.

The historic clips made available for reuse include a rare 1974 interview with 2001: A Space Odyssey author Arthur C. Clarke predicting the internet, the introduction of World Series Cricket and the 1998 waterfront confrontation.

The videos appear as part of the ABC 80th anniversary website 80 Days that Changed our Lives.

Professor Brian Fitzgerald said that prior to being launched, the video clips were only found in the ABC archives.

“The recent release of these materials by the ABC is a significant step towards allowing greater public access to Australian culture and history. It has generated considerable interest and is to be applauded,” he said.

“It is crucial for public organizations like the ABC to consider whether they can make more of this publicly-owned material available to the public for access as it is a primary ingredient for social, cultural and economic innovation, and can be used for many purposes, including education and research.

“Providing open access to information means making it free to obtain, to reuse and to share, and Creative Commons plays an important part in promoting this.

“The way that these materials from the ABC archives have been integrated into Wikipedia to reach a far broader audience is a great example of how this can be achieved.”

For our earlier post on this, see this page.

Regularny przegląd ciekawych wiadomości ze świata licencji Creative Commons, prawa autorskiego o otwartej edukacji: 1. Program Cyfrowa Szkoła co raz bliżej (zgłosiło się już ponad 3,5 tysiąca szkół), a wokół otwartych podręczników nadal trwa debata publiczna o ew. problemy jakie mogą wystąpić w projekcie. 2. Zainteresowanych jak może działać szkoła, która opiera się na pracy z otwartymi zasobami edukacyjnymi odsyłamy [...]

Dávame Vám do pozornosti súťaž videí Why Open Education Matters, ktorú organizuje U.S. Department of Education a Open Society Foundations.  Vytvorte krátke video, ktoré vysvetľuje výhody Otvorených zdrojov vzdelávania pre učiteľov, študentov a školy. Deadline je do 5. júna 2012.

1. cena je 25 000 $ a 2. cena je 5 000 $ (okrem toho sa udelí aj Public Choice Award vo výške 1 000 $).

Video samozrejme musí byť licencované pod licenciou CC Attribution (CC BY).

Harvardská knižnica oznámila, že verejne sprístupní viac ako 12 miliónov katalógových záznamov zo 73 harvardských knižních. Záznamy obsahujú bibliografické informácie o knihách, videách, zvukových záznamoch, obrázkoch, rukopisoch, mapách atď. Harvardská knižnica sprístupňuje tieto záznamy v súlade so svojou Open Metadata Policy a na základe Creative Commons 0 (CC0) public domain licencie.

Momentálne ide o najväčšie sprístupnenie kompletných bibliografických záznamov, o akom vieme.

V dňoch 20.-22. júna 2012 sa v Paríži uskutoční Svetový kongres otvorených zdrojov vzdelávania. Cieľom kongresu je zverejnenie Parížskej deklarácie 2012, zverejnenie najlepších skúseností, iniciatív a projektov v tejto oblasti a oslava 10. výročia fóra UNESCO z roku 2002, ktoré zaviedlo pojem otvorené zdroje vzdelávania (OER / Open Educational resources).

Dávame Vám do pozornosti OKFestival, ktorý sa uskutoční 17.-21. septembra 2012 v Helsinkách (Fínsko). Témou tohtoročného festivalu je Open Knowledge in Action.

Svetová banka zverejnila oficiálnu politiku otvoreného prístupu a repozitár otvorených vedomostí využívajúc Creative Commons. Všetky výskumné výstupy a vedomostné produkty publikované Svetovou bankou tak budú licencované pod licenciou CC BY. Projekt zahŕňa aj osobitné ustanovenia súvisiace s externe publikovaným výskumom Svetovej banky, publikácie tretích strán v repozitári a interoperabilitu s inými repozitármi.

Dávame Vám do pozornosti, že návrh verzie licencie CC 4.0 je možné verejne pripomienkovať. Návrh verzie 4.0 si môžte stiahnuť tu a bližšie informácie týkajúce sa návrhu licencie sú uverejnené tu.

Hlavnými cieľmi verzie licencií CC 4.0 sú internacionalizácia (globálna aplikovateľnosť v celom svete), interoperabilita (podpora prepojenia medzi CC a inými licenciami s cieľom zamedziť štiepeniu v tejto oblasti), dlhodobé trvanie (aplikovateľnosť aj v budúcnosti), aplikácia na dáta, opakované používanie informácií verejného sektora (PSI), vedu a vzdelávanie (identifikovanie prekážok, ktorá bránia aplikácií licencií CC v jednotlivých oblastiach) a podpora súčasných prijímacích modelov a rámcov v rámci CC komunity.

Aktuálne je zverejnená prvá verzia nového návrhu (v4.0d1), pričom konečná verzia by mala byť pripravená do konca roka 2012.

In Open Source Semiconductor Core Licensing (pdf; summary) Eli Greenbaum considers when use of the semiconductor core designs under the GPL would make designs of chips and devices, and possibly physical objects based on those designs, trigger GPL requirements to distribute design for a derived work under the GPL.

It depends of course, but overall Greenbaum’s message for proprietary hardware is exactly the same as innumerable commentators’ messages for proprietary software:

• If you use any GPL work, be extremely careful to isolate that use in ways that minimize the chances one could successfully claim your larger work triggers GPL requirements;
• Excluding GPL work would be easier; if you want to incorporate open source works, consider only LGPL (I don’t understand why Greenbaum didn’t mention permissive licenses, but typically they’d be encouraged here).

Greenbaum concludes:

The semiconductor industry has been moving further toward the use of independently developed cores to speed the creation of new devices and products. However, the need for robustly maintained and supported cores and the absence of clear rules and licenses appropriate for the industry’s structure and practice have stymied the development of an open source ecosystem, which might otherwise have been a natural outgrowth of the use of independently developed cores. The development of a context-specific open source license may be the simplest way to clarify the applicable legal rules and encourage the commercial use of open source cores.

That’s something like what John Ackermann wanted to show more generally for hardware designs in a paper I’ve written about before. Each leaves me unconvinced:

• If one wants copyleft terms, whether to protect a community or proprietary licensing revenue, use the GPL, which gives you plenty of room to aggressively enforce as and if you wish;
• If you don’t want copyleft terms, use a permissive license such as the Apache License 2.0 (some people understand this but still think version tweaked for hardware is necessary; I’m skeptical of that too).

Greenbaum does mention Ackermann’s paper and TAPR license and other “open hardware” licenses I previously discussed in a footnote:

While “open hardware” licenses do exist, they do not take account of many of the complexities of the semiconductor device manufacturing process. For example, the TAPR Open Hardware License does not address the use of technology libraries, the incorporation of soft cores in a device design, or the use of independent contractors for part s of the design
process.

I think this highlights a difference of perspective. “Open hardware” people inclined toward copyleft want licenses which even more clearly than the GPL impose copyleft obligations on entities that build on copylefted designs. Greenbaum doesn’t even sketch what a license he’d consider appropriate for the industry would look like, but I’m doubtful that a license tailored to enabling some open collaboration but protecting revenues in industry-specific ways would be considered free or open by many people, or be used much.

I suspect the reason open hardware has only begun taking off recently (and will be huge soon) and open semiconductor design not yet (though for both broad and narrow categories people have been working on it for well over a decade) has almost nothing to do with the applicability of widely used licenses (which are far from ideal even for software, but network effects rule) and everything to do with design and production technologies that make peer production a useful addition.

Although I think the conclusion is weak (or perhaps merely begs for a follow-up explaining the case), Greenbaum’s paper is well worth reading, in particular section VI. Distribution of Physical Devices, which makes the case the GPL applies to such based on copyright, contract, and copyright-like restrictions and patent. These are all really important issues for info/innovation/commons governance to grapple with going forward. My hope is that existing license stewards take this to heart (e.g., do serious investigations of how GPLv3+ and Apache 2.0 can be best used for designs, and take what is learned and what the relevant communities say when in the fullness of time the next versions of those licenses are developed; the best contribution Creative Commons can probably make is to increase compatibility with software licenses and disrecommend direct use of CC licenses for designs as it has done for software) and that newer communities not operate in an isolated manner when it comes to commons governance.

论坛现场

2012年4月29日，由北京创客空间、知识共享中国项目共同主办的“知识共享与开放创新论坛”在中华世纪坛数字艺术馆举行，该论坛是“创客嘉年华2012”的项目之一，来自知识产权和开放创新领域的专家、艺术家、各界创客齐聚一堂，深入探讨了开源创新中面临的知识产权问题。

CC中国大陆项目负责人、中国人民大学法学院王春燕教授，缘分汇创始人康如松先生（David Ben Kay），“创客嘉年华2012”策划总监王盛林，CC澳门项目代表、澳门科技大学汪蓝教授等嘉宾分别进行了主题发言。王春燕教授在关于《知识共享在中国大陆的发展与实践》的主题发言中向与会者介绍了CC文化的全球背景以及进入中国的本地化过程和CC在大陆的发展现状。汪蓝教授则围绕《产品创新与设计教育》这一主题向与会者分享了其作为一名艺术教育工作者关于开放与创新的研究体会和经验。

CC中国大陆项目负责人、中国人民大学法学院王春燕教授

缘分汇创始人康如松先生（David Ben Kay）

“创客嘉年华2012”策划总监王盛林

CC澳门项目代表、澳门科技大学汪蓝教授

随后在“知识共享与产品创新”的主题讨论环节，FlamingoEDA创始人肖文鹏、奥地利籍翻译家，文化项目管理者殷歌丽、CC澳门项目代表、澳门科技大学汪蓝教授，艺术家、CC中国大陆项目经理朱捍东等嘉宾围绕知识共享、开源硬件过程中的知识产权保护等话题进行了深入的对话，并与来宾进行了积极的互动交流。

“知识共享与产品创新”主题讨论环节

“创客嘉年华2012”于2012年4月28日在北京中华世纪坛数字艺术馆(CMoDA)开幕，由北京创客空间、 中华世纪坛数字艺术馆(CMoDA)、中央美术学院交互设计实验室联合主办，聚光灯文化艺术、果壳网、知识共享中国项目和北京莱恩文化传媒有限公司协办。近年来，创客文化在全球蓬勃发展，创客空间也在国内各大城市纷纷涌现，云集了互联网、电子工程、工业设计、交互设计、数字艺术等领域的各类人才。创客是开源社群特别是开源硬件的中间力量，开源作为一种有效的分享和创新机制，让每个人都平等地拥有学习、改进、分发和传播知识的权利。开源硬件理念颠覆了传统的封闭式创新机制，使得全世界人都可以以相互累进的方式进行创新和完善，大大增强了创新的整体活力。而开源硬件因开放了产品的设计理念、图纸和内在技术，使产品开发更多元化和个性化，并能带来更广的服务和支持社区，亦将为现有产品带来源源不尽的创新活力。”

In November, Communia made a statement to support the Scoping Study on Copyright and Related Rights and the Public Domain by Séverine Dusollier (document CDIP/7/INF/2) discussed at the WIPO Committee on Development and Intellectual Property (CDIP). Three recommendations had been selected by the member states for further work by the WIPO secretariat:

1.c. The voluntary relinquishment of copyright in works and dedication to the public domain should be recognised as a legitimate exercise of authorship and copyright exclusivity, to the extent permitted by national laws (possibly excluding any abandonment of moral rights) and upon the condition of a formally expressed, informed and free consent of the author. Further research could certainly be carried out on that point.

1.f. International endeavours should be devoted to developing technical or informational tools to identify the contents of the public domain, particularly as far as the duration of copyright is concerned. Such tools can be data collections on works, databases of public domain works, or public domain calculators. International cross-operation and cross-referencing of such tools is of particular importance.

2.a. The availability of the public domain should be enhanced, notably through cooperation with cultural heritage institutions and UNESCO (through its work on the preservation of intangible cultural heritage).

Document CDIP/9/INF/2 entitled Scenarios and Possible Options Concerning Recommendations 1c, 1f and 2a of the Scoping Study on Copyright and Related Rights and the Public Domain has thus been drafted by the secretariat and presented at this CDIP/9. Melanie Dulong de Rosnay on behalf of Communia made the following statement to support this Information Document Clarifying the Scope of Séverine Dusollier’s study:

“Dear Mister Chairman,

Congratulations on your election.
We thank the secretariat for preparing the document CDIP/9/INF/2 Scenarios and Possible Options Concerning Recommendations 1c, 1f and 2a of the Scoping Study on Copyright and Related Rights and the Public Domain, and support all of these recommendations.

Communia is the international association on the Public Domain. Our mission is to offer expertise and research about the public domain in the digital age.  Communia started as a network funded by the European Commission between 2007 and 2011 anddeveloped a set of policy recommendations to enrich and sustain the Public Domain. Several are in line with the recommendations proposed by Professor Séverine Dusollier and one is explicitly mentioned in the document prepared by the secretariat, proposing to re-establish some formalities: “in order to prevent unnecessary and unwanted protection of works of authorship, full copyright protection should only be granted to works that have been registered by their authors. Non registered works should only get moral rights protection”. Registration would serve several means, in particular, help to identify and locate Public Domain works, identify Right Holders and avoid orphan works.

On recommendation 1.f to develop informational and technical tools to identify content which is in the Public Domain, we think a good way of enhancing the interoperability of private registries, Public Domain calculators and public databases would be to recommend or even mandate the use of open standards. WIPO could certainly play a vanguard role by continuing coordinating initiatives and maybe at least partially host or list several of these systems.

Such technical or informational tools identifying content of the public domain shall be coordinated with  existing rights management structures such as collective rights management organizations. The creation of public registries at national levels listing works on which right-holders have willfully waived their rights and/or whose right-holders cannot be found or identified shall help improving legal certainty for users. The ability of right-holders to not fully exercise all of their rights shall be taken into account in the legal framework of the mandates between collecting societies and their members. This shall be part of the common information technology infrastructure that is likely to be proposed by the European Commission in its upcoming framework Directive on collective rights management.

We also recommend to consider other recommendations from the study, recommendations 1.e on orphan works, 2.b to encourage legal deposit and 2.c on the role of libraries because they are complementary to recommendation 1.f to identify content which is in the Public Domain.

Regarding recommendation 1.c to legitimate voluntary relinquishment as a legitimate exercise of copyright, we follow the recommendation of the secretariat to commission a study on relinquishment which will clarify the enforceability of tools such as CC0 dedication to the Public Domain in different jurisdictions. We would like to recall that actually, Public Domain is the rule and copyright is the exception. Moral rights regime shouldn’t be seen as a difficulty to circumvent, on the contrary, dedicating a work to the Public Domain, should be fully considered as a way to exercise one’s moral rights. Dedication to the Public Domain is a more positive expression than voluntary relinquishment of rights, reflecting the value of contributing to a common pool of reusable works.

Finally, we also welcome recommendation 2.a to enhance the availability of Public Domain works notably by cooperating with UNESCO and cultural heritage institutions. A good way to promote this cooperation is indeed to propose guidelines to museums. But a better way to protect the Public Domain would be to reinforce it statutorily.
Such a positive recognition could be achieved by implementing recommendations 3.a, b and c proposing to define legal means to prevent the recapture of exclusivity in works that are in the PD because the PD is at threat and deserves a positive legal definition to be protected from privatization.

We state that that “Digital reproductions of works that are in the Public Domain must also belong to the Public Domain. Use of works in the public domain should not be limited by any means, either legal or technical. Any false or misleading attempt to misappropriate Public Domain material must be declared unlawful. False or misleading attempts to claim exclusivity over Public Domain material must be sanctioned.”

The use of a Public Domain Mark such as the tool developed by CC or a stronger equivalent with metadata carrying the stamp of the affirmer, being a national library, the ministry of culture or these public and private registries we are talking about, would be extremely useful to both identify Public Domain works and prevent their misappropriation by adding another layer of rights.

We would like to clarify that we consider that Public Domain is related to copyright, and not to Traditional Knowledge, which is another part of IP, and we don’t understand why the promotion of the Public Domain and the protection of the Traditional Knowledge should be opposed, they are different matters and as such, our definition of the Public Domain does not target Traditional Knowledge,  collective rights of the community could be respected in the same way moral rights act for authors of copyrightable works. Traditional Knowledge should not be in the Public Domain just because it’s not copyrighted.

Finally, we think that “Digitization projects that receive public funding must at the minimum ensure that all digitized content is publicly available online.” Digitization project financed by private funding could also have a legal framework preventing to re-establish exclusivity. We would finally like to recall that not all private efforts are led by a certain wealthy search engine, but can also reflect the public interest. Another type of public-private partnership with experts from Wikipedia has shown extremely good results, for instance at the Chateau de Versailles, the British Museum, the Library of the Chilean National Congress, the Museo de Arte Popular in Mexico City or the Smithsonian Archives. For example, the publication on Wikimedia Commons of images of works from the former Dutch colonies curated by the Tropenmuseum in Amsterdam gave access to their own cultural heritage to Indonesians, because it was not available there. These experiences can be replicated and adapted to local context at extremely low cost, through the opening of collection to voluntary photographers, collaboration with curators to draft notices and metadatas, upload of Public Domain material in databases so they can be reused, or even translation of notices by students through instant messaging tools. Public participation to preservation is a powerful way to provide more visibility to collections in the respect of local communities. But these experiences can be led only if works are available under open access licenses or under Public Domain conditions.

It is our great pleasure to be accredited and to participate to this CDIP session where the Public Domain is at the heart of the agenda. Thank you.”

No consensus could be reached among member states on the necessity to lead further work on the Public Domain. US, EU, Switzerland and Norway are opposed to further examination of Dusollier’s recommendations on public domain, while Algeria, South Africa, Brazil, Chile, Venezuela, Pakistan, Creative Commons, Communia and KEI call for WIPO to continue its work on the recommendations.

In Europa wordt steeds meer overheidsdata open gedeeld. Wat is de beste manier om te garanderen dat iedereen deze data mag hergebruiken, aanpassen en verspreiden? Ilaria Buri van het van het Instituut voor Informatierecht (IViR) deed onderzoek naar de juridische aspecten van open data van de publieke sector. Haar onderzoek wijst uit dat twee Europese richtlijnen hier complex met elkaar verstrengeld zijn.

Met het PSI-directive (Richtlijn 2003/98/EC) worden Europese overheden gestimuleerd om publieke sector informatie herbruikbaar te maken door het grote publiek. De Europese Unie ziet een enorme markt in deze data. Neelie Kroes ziet open data zelfs als de ruwe olie van deze eeuw.
De Database-directive (Richtlijn 1996/9/EC) geeft juist aan dat Europese landen data vatbaar is voor bescherming op soortgelijke manier als werken beschermd worden door het auteursrecht.

Deze twee richtlijnen strijden met elkaar. Aan de ene kant wordt data van de publieke sector beschermd door het databankenrecht, maar tegelijkertijd stimuleert de Europese Unie deze data vrij te hergebruiken.

Licenties gebruiken is een manier om aan te geven dat data uit de publiek sector door iedereen mag worden hergebruikt. Er zijn een aantal lokale licenties, onder anderen in de UK en Italië, die ervoor zorgen dat iedereen de data onder bepaalde voorwaarden mag gebruiken. Ook bestaat er de Creative Commons Public Domain Dedication (CC0), geen licentie maar een methode om afstand te doen van al je auteursrechten en aanverwante rechten.

Lokale oplossing zijn meestal niet internationaal te gebruiken, ook is data moeilijk te combineren met anders gelicenseerde data. Buri adviseert in haar paper dan ook om gebruik te maken van CC0 om een sterke en effectieve internationale markt van open data te hebben.

Download het hele onderzoek

第二十三屆科學與技術資料委員會國際會議 (The 23rd International CODATA Conference)
今年十月底將於台北舉行，會議主題為「開放資料與資訊: 變動中的地球」。
公開徵求論文摘要與議程籌組，收件截止日期為6月15日。

詳情請見以下中、英文公開徵求文件以及海報，並煩請廣為散布。
敬請踴躍投件，共同參與這次會議。感謝！

＝＝＝＝＝＝＝ 公開徵求：論文摘要與議程籌組 ＝＝＝＝＝

第二十三屆科學與技術資料委員會國際會議

「開放資料與資訊: 變動中的地球」

2012 年 10 月 28-31 日 於 台北 中央研究院

http://www.codata2012.com/

收件截止日期：2012 年 6 月 15 日
＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝

會議背景:
--------
我們所居住的地球面臨眾多的問題與挑戰，

閱讀全文

To celebrate 10 years since UNESCO coined the term “Open Educational Resources”, the OER Foundation is hosting a free online training workshop on OERs, Copyright and Creative Commons licensing.

When: 20 June –  3 July 2012 (to coincide with the UNESCO World OER Congress in Paris).

Where: Online

Cost: Free

Registrations for the OCL4Ed Workshop are now open:  Register today to reserve your seat.

The OER Foundation is aiming to break their previous OCL4Ed record of 1067 registrations, so please share the gift of knowledge and invite colleagues and friends to join this free workshop.

 

I had no intention of writing yet another post about DRM today. But a new post on Boing Boing, Libraries set out to own their ebooks, has some of the same flavor as some of the posts I quoted yesterday and is a good departure (for making a few more points, and not writing any more about the topic for some time).

Today’s Boing Boing post (note their Day Against DRM post from last week) says a library in Colorado is:

buying eBooks directly from publishers and hosting them on its own platform. That platform is based on the purchase of content at discount; owning—not leasing—a copy of the file; the application of industry-standard DRM on the library’s files; multiple purchases based on demand; and a “click to buy” feature.

I think that’s exactly what Open Library is doing (maybe excepting “click to buy”; not sure what happened to “vending” mentioned when BookServer was announced). A letter to publishers from the library is fairly similar to the Internet Archive’s plea of a few days ago. Exceprt:

• We will attach DRM when you want it. Again, the Adobe Content Server requires us to receive the file in the ePub format. If the file is “Creative Commons” and you do not require DRM, then we can offer it as a free download to as many people as want it. DRM is the default.
• We will promote the title. Over 80% of our adult checkouts (and we checked out over 8.2 million items last year) are driven by displays. We will present e-content data (covers and descriptions) on large touch screens, computer catalogs, and a mobile application. These displays may be “built” by staff for special promotions (Westerns, Romances, Travel, etc.), automatically on the basis of use (highlighting popular titles), and automatically through a recommendation engine based on customer use and community reviews.
• We will promote your company. See a sample press release, attached.

I did not realize libraries were so much like retail (see “driven by displays”). Disturbing, but mostly off-topic.

The letter lists two concerns, both financial. Now: give libraries discounts. Future: allow them to sell used copies. DRM is not a concern now, nor for the future. As I said a couple days ago, I appreciate the rationale for making such a deal. Librarian (and Wikimedian, etc) Phoebe Ayers explained it well almost exactly two years ago: benefit patrons (now). Ok. But this seems to me to fit what ought to be a canonical definition of non-visionary action: choosing to climb a local maximum which will be hard to climb down from, with higher peaks in full view. Sure, the trails are not known, but must exist. This “vision” aspect is one reason Internet Archive’s use of DRM is more puzzling than local libraries’ use.

Regarding “owning—not leasing—a copy of the file”, I now appreciate more a small part of the Internet Archive’s recent plea:

re-format for enduring access, and long term preservation

Are libraries actually getting books from publishers in formats ideal for these tasks? I doubt it, but if they are, that’s a very significant plus.

I dimly recall source code escrow being a hot topic in software around 25 years ago. (At which time I was reading industry rags…at my local library.) I don’t think it has been a hot topic for a long time, and I’d guess because the ability to run the software without a license manager, and to inspect, fix, and share the software right now, on demand, rather than as a failsafe mechanism, is a much, much better solution. Good thing lots of people and institutions over the last decades demanded the better solution.

Bought a Tern Link P9 foldable bicycle about four weeks ago. Just posted to the Tern Bicycles forum:

[thread starts here]
Link P9 chain falls constantly
Same problem here. Got my P9 about 4 weeks ago. Rode it slow first week and never went on gear 9. Then second, third and fourth week, I rode with my friends on the roads and park connectors. Each ride, the chain would drop at the front. Each ride, at least once. What's consistent is the drop occurring when I engage 8th to 9th gear.

I took the P9 to the retailer for a check. The bike tech spent an hour trying to fix the problem. I have no reason to doubt his skills. In the end, it was a compromise. The chain tended to pop out but he lowered the top plastic piece near enough to make sure it guides the chain back. Is the P9 designed like this? I'm not sure.

I asked if I could trade the P9 back to offset and get a P18 (I'm still a Tern fan!) but was told not possible. Which disappointed me. A lot. I now ride with a sense of uncertainty with my P9, which I really adore if not for the chain drop problem. And frankly I don't feel safe riding on the roads now.

Tern Bicycles please do something about this. I wanted to sell my P9 even taking a loss but cannot do so without feeling guilty. Feel like I'm passing on a defective bike. And could you make my Christmas come early? Please convince my dealer to accept my P9 as a trade-in so that I can buy the P18. As I mentioned, I'm still your fan. But right now I'm also telling people not to get the P9 at all. Until Tern manages to address the problem.

I'm still a fan of Tern foldies. But less so of the P9 now. If they can help me with my P9 and/ or help me get a trade-in, I'd be their raving fan.

The Saylor Foundation provides global grants of US $20,000 to college textbook authors seeking to openly license their educational textbooks for use in free Saylor college-level courses. Authors maintain their copyright and license textbooks to the world via Creative Commons Attribution (CC BY) to enable maximum reuse, remix, and redistribution. To learn more and apply, visit Saylor’s Open Textbook Challenge page for more details.

In addition to providing grants for existing textbooks, the Saylor Foundation has announced a new option to award authors seeking to create open textbooks that will be CC BY licensed. Academics who are interested in creating a textbook can submit a brief statement about the proposed text and the relevant eligible Saylor course, and if successful they will receive a Request for Proposal from the Saylor Foundation (more details at the Open Textbook Development page). As a result of this new option and because preparing new texts is a lengthy process, the Saylor Foundation has decided to accept both textbook submissions and proposals for textbook development on an ongoing basis. The initiative has recently received funding from the William and Flora Hewlett Foundation and the Saylor Foundation expects to award millions of dollars for open textbooks under CC BY.

“CC BY” / opensourceway / CC BY-SA

The cost of education is spiraling, for example the average amount that a U.S. college student spends on textbooks is almost US $1,200 per year. Textbook costs may represent up to seventy-five percent of a Californian community college education, and education affordability is frequently cited as a reason for course dropouts (pdf). The Saylor Foundation tackles this issue by providing free, college-level curricula worldwide via Saylor.org. Their Open Textbook Challenge aims to alleviate cost pressures by encouraging textbook authors to openly license their textbooks with CC BY so that students may use them for free.

ŽELITE IZVEDETI, KAKO DOSEGATI BOLJŠE REZULTATE IN ZMANJŠEVATI TVEGANJE VAŠIH KREATIVNIH DEL S POMOČJO INTELEKTUALNE LASTNINE?

VABIMO VAS NA BREZPLAČNO OSEBNO SVETOVANJE S PODROČJA INTELEKTUALNE LASTNINE ZA KREATIVNE INDUSTRIJE (ZNAMKE, MODELI, AVTORSKE PRAVICE ITD.)

KJE? REGIONALNI CENTER KREATIVNE EKONOMIJE, Tehnološki park 19, 1000 Ljubljana, 3. nadstropje
KDAJ? VSAK DRUGI TOREK V MESECU OD 9. DO 15.30 ure

PRVI TERMIN: 15. maj 2012, od 9. do 15. 30 ure

preberi več

Een top 10 nummer downloaden, remixen en verspreiden zonder dat je hiermee inbreuk doet op het auteursrecht van de muzikant. Dat kan nu met het nummer ‘Sharing is Caring’ van Dan Bull. Het nummer, dat op #9 staat op de UK independant chart, is gelicenseerd onder CC0. Het is voor het eerst dat een artiest in de van een hitlijst komt met een werk vrij van auteursrechten.

Dan Bull is een internet activist en rapper. Hij maakte onder andere SOPA Cabana en schrijft op zijn blog regelmatig over SOPA, PIPA, CISPA en andere regelgeving die internetvrijheden kunnen indammen. ‘Sharing is Caring’ is gemaakt in samenwerking met the Pirate Bay.

CC0 is geen licentie, maar een universele publieke domein dedicatie. De rechthebbende geeft hiermee aan dat het werk door iedereen mag worden gebruikt, zelfs voor commerciële doeleinden zonder dat zelfs maar de naam van de maker vermeld moet worden. Met CC0 doe je afstand van al je auteursrechten.

Dan Bull ziet geen probleem met het onvoorwaardelijk delen van zijn werk. Hij wil zijn fans stimuleren om zijn werk te gebruiken, interpreteren en te verspreiden:

 “It’s up to the individual musician what they want to do and it depends on their principles. In the past I have gone the way of having no licensing on my music at all, or where licensing is necessary, I make it known that I have no problem personally with people copying or remixing the music. If you want to encourage fans to engage with your music, re-interpret it and redistribute it on your behalf, then Creative Commons is a good direction to look in.”

Lees het hele interview op de blog van CC-UK

Τα Creative Commons ανακοινώνουν με χαρά την έναρξη του Δημόσιου Διαλόγου για το προσχέδιο της έκδοσης 4.0 των αδειών. Το προσχέδιο αυτό είναι αποτέλεσμα μιας μακροσκελούς περιόδου έρευνας και περισυλλογής δεδομένων, απαιτήσεων και παρατηρήσεων πάνω στην τελευταία έκδοση των αδειών από τους Creative Commons συνεργάτες μας σε όλο τον κόσμο, από την ευρύτερη κοινότητα των Commons και από τους μετόχους. Χάρη στη δικιά τους λοιπόν συμμετοχή και σκληρή εργασία τα Creative Commons παρουσιάζουν το προσχέδιο της πολυαναμενόμενης έκδοσης 4.0 των αδειών.

Το πρώτο προσχέδιο 4.0 που παρουσιάζεται αυτές τις μέρες δημιουργήθηκε μετά και την κατοχύρωση των στόχων των Creative Commons στην Σύνοδος Κορυφής του 2011. Οι στόχοι αυτοί ήταν: α. Να δημιουργηθεί μια σειρά αδειών 4.0 η οποία θα είναι σε θέση να απαντήσει στις προκλήσεις που προκύπτουν από την όλο και αυξανόμενη χρήση των αδειών παγκοσμίως συμπεριλαμβανομένων και των χωρών που μέχρι τώρα δεν είχαν υιοθετήσει τις άδειες και θα κατευθυνθούν κατευθείαν σε αυτή τη νέα έκδοση, β. Να μεγιστοποιηθεί η διαλειτουργικότητα και να διασφαλιστεί η τυποποιημένη χρήση των αδειών όσο περισσότερο γίνεται και γ. Να εξασφαλίσουμε την μακροβιότητα και την ευκολία στη χρήση.

Καθ’ολη την διάρκεια της έκδοσης του προσχεδίου 4.0 τα Creative Commons προσπάθησαν να λάβουν υπ’οψιν όλα τα σχόλια και τις ανάγκες των συνεργατών στις διάφορες χώρες, των χρηστών και των δημιουργών. Έτσι πλέον περιμένουμε εδώ στα Creative Commons την εξέλιξη του Δημόσιου Διαλόγου και τα περαιτέρω σχόλια για το τελικό αποτέλεσμα. Κύρια θέματα στα οποία δόθηκε έμφαση στην νέα αυτή έκδοση είναι τα Δικαιώμα για τις Βάσεις Δεδομένων (Database Rights), τα Ηθικά Δικαιώματα (Moral Rights) και τα Συγγενικά Δικαιώματα.

Μπείτε και εσείς τώρα στο Διάλογο για την Εκδοση 4.0 των αδειών Creative Commons καθώς η γνώμη σας μετράει!

We are glad to announce that the COMMUNIA Thematic Network’s Final Report, as approved by the European Commission, is available online: http://communia-project.eu/final-report.

The Report of the eponymous Thematic Network provides a basis for action taken up by its successor, the COMMUNIA International Association. The document is depicting a wide range of issues and is proposing answers to crucial questions:

• What is the public domain?
• The Value of the Public Domain for Europe
• Public Domain Challenges and Bottlenecks
• The Public Domain and the European Commission Strategy
• COMMUNIA and the European Public Domain Project
• What Can Europe Do for the Public Domain?